For the first two weeks of November, I was on the other side of the
Earth, first for five days in Singapore, then for seven in Thailand.
This will be the first of, I think, five posts about my experiences.

I
went to Singapore to teach at an Editors' Boot Camp, which the National
Arts Council sponsored as part of the Singapore Writers' Festival. My
co-instructor was the excellent Francesca Main
of Picador Books UK -- an adult-books editor who was just as passionate
about the art and craft of editing as I am, resulting in three good
days of sharing our knowledge with the Malay and Singaporean editors in
attendance, and learning from them in turn. Case in point: The
Singaporean publishing industry does not have two things that completely
change the publishing equation when compared to the US & UK:

Agents. This makes sense when you consider that Singapore has four official languages (English, Malay, Chinese, and Tamil) for a
population of just over five million, which greatly fragments the
publishing market, which in turn makes it difficult for an agent to
build a living out of 15% commissions. Thus most manuscripts in
Singapore are submitted directly to the publishers.

Amazon.com and the Kindle. They do have e-books, which can be purchased through the website www.ilovebooks.com,
among others. But the 900-pound gorilla that has so transformed the US
and UK publishing industries hasn't yet established a Singaporean
outpost.

What they DO have:

Diversity. This
is a "duh" statement given the country's languages and population, but
coming from U.S. publishing, it was a pleasure to see so many editors
from such diverse backgrounds gathered in one place: Muslims, Malays,
native-Chinese speakers, expatriates . . .

Energy. Not
only were the editors eager to learn, but the government was eager to
support the country's publishing efforts, as evidenced by the existence
of the course itself.

Creativity. I was really impressed by the wide-ranging and beautifully designed lists of small publishers like Epigram Books, Monsoon Books, and Marshall Cavendish (which is very different from the MC we have here).

Four observations I offered in class, which I rarely have occasion to offer in my courses for writers:

Authors
and manuscripts are published most successfully when they are a
good fit with the editor's values, the house's values, and the market's
values. That is: The editor values what the book accomplishes
artistically, and knows how to help the author maximize its intellectual
intentions and emotional effects; the house can successfully connect
the book with its audience, because it's an audience the house already
values and knows how to reach; and the market recognizes the worth of
the book and embraces it. The market's values are endlessly created and
recreated, because it doesn't know what it wants until that desire has
been offered to it. But an editor's and house's values can usually be seen in what they've published in the past.

Having recently seen, and really liked, the film of Cloud Atlas, I finally read the New Yorker article about its making,
and I was greatly struck by this quote from Lana Wachowski: "The
problem with market-driven art-making is that movies are green-lit based
on past movies. So as nature abhors a vacuum, the system abhors
originality. Originality cannot be economically modeled." (Those of us
who must deal with comp titles would also observe that originality has a
highly mixed sales record.)

Much of being an editor is dealing with negative space: what is not there at present and should be.

Editors have a close-to-inexhaustible faith in the perfectability of manuscripts: that they can and will get
better, with the application of the right combination of insight,
imagination, time, and elbow grease. We acquire this faith through
seeing the process happen over and over again, for a wide array of
writers and projects. It is a much harder faith for writers to keep,
given that they usually don't have the opportunity to see any process
but their own, and they're so deeply personally invested in that and the outcome
(whereas we editors get to have a little more distance from both).

Thanks
very much to Francesca (pictured to my right above), to the writers and
editors in our class, and to the National Arts Council for making the
trip possible!